PS 3521 




Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

TARM FOLKS. A Rural Play in Four Acts, by Arthur 
LEWIS TuBBS. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. SKe agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. Price, 25 cents. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. Price 25 cents. 

THE OLD NEV7 HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the_ "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. Price, 25 cents. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
fernales. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An ^dv^nturer obtains a large sum of money 
from a farm house tRraugh the intimidation of the farmer's 
niece, whose husband Ji^'V^aims to be. Her escapes from the 
wiles of the villain and'his female accomplice are both starting 
and novel. Price, 15 cents. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. Price 
15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



The Fairies' Child 



By 
GERTRUDE KNEVELS 




PHILADELPHIA 
THE PENN PUBLISHING COMPANY 



f 5 35^1 
1^ |5 



Copyright 191 5 by The Penn Publishing Company 



™ ^.. ,„.,. APR 10!9J5 

The Fairies' Child 

©CLD 40323 



The Fairies' Child 



CAST OF CHARACTERS 

The Fairy Queen. 
HoNEYDEW, the Fairy Princess. 
MossKiN, the Queen's Page. 
Ferncap 

SiLVERLEAF 
LiLYBELL 

Buttercup 

roseberry 

Moonshine ^ 

TruDie, the woodcutter^ s daui^hter. 

Thistlekin, the fairies' child. 

Slump, a caterpillar. 



Fairies. 



STORY OF THE PLAY 

Little Trudie, the Woodcutter's child, has strayed into the 
forest on the magic night when the Queen of the Fairies 
must grant whatever request a mortal asks of her. Hiding 
behind the bushes, she hears the Fairy Princess tell Thistle- 
kin he was a mortal baby, stolen from the Woodcutter, and 
recognizes her long lost brother. She begs for his release 
and the Queen must consent to let him go, with a farewell 
dance and song. 



COSTUMES 

Fairy Queen. White gauzy dress, long train from 
shoulders of pale blue, ornamented with gilt tinsel. Gilt 
crown and sceptre. Wings of white tarlatan spangled with 
gold. 

HoNEYDEW. Dress much like Queen's without train and 
ornamented with silver. Smaller wings. Silver circlet in 
hair and small sceptre. 

MossKiN. Page's suit of bright blue with tinsel orna- 
ments. Wings. Blue stockings and shoes with pointed 
toes. 

The Fairies. Dresses much like those of fairy princess 
but less ornamented, of tarlatan or any other gauzy material. 
Hair worn floating with silver circlets. Wings ornamented 
with silver. 

Trudie. Child's peasant costume, red skirt, white 
blouse, white winged cap, black velvet bodice, apron. 

Thistlekin. Tight fitting suit of green. Green pointed 
cap. Green and gold wings of a distinctly different fashion 
from those of other fairies. 

Slump. The child who takes this part should wear a 
long sleeveless garment of green shiny cambric, gathered 
at the neck and as closely about the ankles as possible. 
Large black spots should be sewn in two rows up and down 
back. The head should be completely covered with a 
green hood made like a bag, the corners twisted and wired 
to resemble horns. Holes may be cut for the eyes and 
mouth. Green stockings complete this costume. 



MUSIC AND DANCES FOR THE PLAY 

The music of a talking machine hidden behind a screen 
at one side of the stage will be found sufficient for the play, 
in case a regular orchestra is not provided. The Fairies' 
Song may be sung to the music of *' The Danish Dance of 
Greeting," a record easily obtainable. Suitable folk dances 
and music will be found in '' Folk Dances and Singing 
Games," by E. Burchenal, price ^1.50, which may be ob- 
tained from the publishers of this play. 

4 



SCENE PLOT 5 

Almost any simple folk dance is suitable for the first 
dance of the fairies. The second dance should be danced 
in circle formation. Fairies should circle to the left during 
eight counts, then eight counts to the right, then forward to 
center eight counts, back the same. The first verse of 
song should then be sung standing still. Repeat dance and 
then sing second verse. Dance in circle once more, bow to 
Queen, and return to places. 



SCENE PLOT 

SXTEIKIOK 3ACI( DRor 



o,. 



y-OOD TfiJfOAtC 




For Outdoor Production. Any meadow or grove of 
trees is a suitable site for the play ; preferably an open 
space with a small wooded slope behind. Otherwise, a 
background may be made from a fence or a wire screen in- 
terlaced with branches. No other scenery is required except 
a log up R. for the Queen's throne, and a bush down l. for 
i'rudie's hiding-place. 

For Indoor Production. The above cut shows stage 
setting if given indoors. It may, however, be much simpler, 
and the play can be given on any platform or stage without 
scenery. h\ this case the floor should be covered with green 
cloth and large plants placed about at intervals to suggest a 
forest. An exterior drop for the rear is best, although a 
plain green curtain will suffice. 



The Fairies' Child 



SCENE. — A glade in the fairies^ forest. Time, late after- 
7ioon. 

(^E liter Trudie, r., walking slowly, and looking from side 
to side as if searching for something. She seems lialf 
delighted, half afraid.') 

Trudie. Here I am at last all alone in the Fairies* 
Wood ! How often I've wanted to come, but Mother never 
would let me. She was afraid the fairies might steal me as 
they stole my baby brother so long ago ! The Queen her- 
self came for him on Midsummer's Eve, and now every 
year on that day my mother sits and cries. To-day I 
couldn't bear to see her, so I ran away. Oh, if I could 
only find the spot where the fairies dance ! I'm tired 
already, but I won't give up till I find a fairy, not if I have 
to search under every bush and every leaf in the forest. 

{As she talks she crosses stage and goes out L.) 

(^Enter, r., six fairies, Ferncap, Silverleaf, etc. They 
dance. For this dance see descriptioti of dances. Prin- 
cess HoNEYDEW enters, r., and stafids a moment up c.) 

Princess {raising wand). Stop ! 

(Fairies o?t hearing her voice turn toward her, separating 
into two groups. She steps down c.) 

Silverleaf. Oh, here's Princess Honeydew ! 

Fairies. Welcome, Princess, come and dance with us ! 

Princess. Dear fairies, have you forgotten the latest 
rule? No dancing except by moonlight ! 

Ferncap. Oh, dear, there are so many rules ! 

Pkincess. Be careful ! Her Majesty is coming this way, 
and she's in the most dreadful temper 1 



8 THE fairies' child 

Ferncap. What's the matter now ? 

SiLVEKLEAF. Has 'I'histlekiii been naughty again ? 

Princess. Yes, dreadtuUy naughty, but the real trouble 
is that to-nrght is Midsumuier's Eve, when her Majesty's 
nerves are always in a flutter for fear she will meet a Mortal. 

Buttercup. Well, what if she does? Mortals can't see 
fairies. 

Princess. Buttercup, I'm ashamed of you ! Even if 
you are only five hundred years old and a mere baby, you 
ought to know better than that. On Midsummer's Eve all 
Mortals can see fairies. That's why we were ordered to 
hide in the forest to-day. Shall I tell you a secret? 
{Fairies gather more closely about her?) If a Mortal is 
lucky enough to meet the Fairy Queen to-night, he may ask 
any one wish he pleases of her and the Queen cannot refuse ! 

Buttercup. Oh-ho, so that's why the Queen is so anx- 
ious ! She can't bear giving anything away-— least of all 
wishes ! 

Princess. Hush, here she comes \ 

{Music. As Fairy Queen enter s^ l., with very slow^ 
majestic step, her train held by MossKiN, all tlie fairies 
bow low before her.') 

Fairies. Hail to your Majesty ! Hail to the glorious 
Queen of Fairyland ! 

Queen {standing down c, Mosskin behiiid her, Prin- 
cess, L.). Fairies, you were dancing just now. Don't at- 
tempt to deny it ! Dancing — and by the light of day. Pve 
a good mind to give one twirl of my magic wand and turn 
you ail into field-mice ! Are my commands never to be 
respected ? Haven't 1 told you again and again that no 
self-respecting fairy dances except by moonlight? 

Princess. Certainly, your Majesty, but — dear me — 
fairies v/ill be fairies I {To others.) Come, let us show 
her Majesty that we knov^ liovv fairies oughl to behave. 

{Music. Fairies dance and sing.) 

When the Moon comes, sl.ining brightly, 

Little fairies dance and sing, 
Stepping softly, treading lightly, 

Round and round the Fairy Ring. 



THE FAIRIES CHILD 9 

When the Sun comes, then it's daytime, 

Little fairies hide away, 
For the dark night is their playtime, 

Fairies' bedtnne is the day ! 

(Af end of dance all bow and return to places.') 

Queen. Very good, see that you don't forget again. 
And now, where is Thistlekin? Bring hnn before me. 

MossKiN {bowing). Please, your Majesty, I've already 
sent for Thistlekin, but he refuses to come. 

Queen. Refuses to come ? 

MossKiN. Yes, your Majesty, he says he's just finishing 
off a very difficult piece of mending and cannot be disturbed. 

Queen, What is he mending ? 

MossKiN. Slump, the Caterpillar, please your Majesty. 

Queen. Slump, the Caterpillar! Why, only yesterday 
I ordered that disobedient creature to be cut into seven 
slices for refusing to draw my royal oak-leaf chariot ! 

MossKiN. It was done, your Majesty. 1 attended to 
the execution myself, but you know what a strange fellow 
Thistlekin is — always thinkmg he must be doing a kindness 
to somebody ! No sooner had he heard that Slump was in 
trouble than he flew to the wretched caterpillar's aid, and 
now Slump is neatly mended and as good — or as bad — as 
ever again. 

Queen. Bring them both before me. {Enter, l., This- 
tlekin, Slump crawling behind him.) Thistlekin, come 
hither ! (Thistlekin kneels before iier.) Slump, you diso- 
bedient Caterpillar, crawl to my feet ! (Slump turns back 
deliberately on Queen and begins to eat leaves.) 1 will be 
obeyed! {Stamps foot.) Slump, continue to eat leaves! 
{Turns to Princess.) You see, my dear, a little firnmess 
is all that is necessary to manage him I {To Thistlekin.) 
And now, my naughty Thistlekin, what is this 1 hear of 
you? In spite of my express commands that you should 
never approach the home of any living Mortal, last night 
you were seen on the edge of the fairy forest, lurking about 
the Woodcutter's door ! 

Thistlekin. It is true, your Majesty; nor is it the first 
time I've visited the Woodcutter's cottage. Many and 
many a night I've left the rest here dancing in the fairy 
ring, and slipped away through the woods to i)eer in at his 
window ! 



10 THE FAIRIES* CHILD 

Queen. What did you see ? 

Thistlekin {dreaviily). I saw red fire glowing on a 
hearth, and when I saw it I knew that I was cold. 1 saw 
mortal food spread out on a white cloth, and when I saw it 
1 knew that 1 was hungry. 1 saw a httle mortal child, the 
Woodcutter's daughter, climb into her mother's lap. . . . 
Then for the first time in all my life 1 knew that I was 
lonely and sad ! 

Queen. You lonely, Thistlekin — you who can dance all 
night long with the gayest elves and fairies of the wood ! 
You cold — when you can sleep all day in the sun, wrapped 
up in a mullein leaf blanket! You hungry? Why, you 
can feast whenever you please on fairy fruit and wine at my 
royal table 

Thistlekin. Yes, hungry and cold and lonely, in spite 
of all those things. While I was looking in at the Wood- 
cutter's window, I wished 

Queen {anxiously^. What did you wish ? 

Thistlekin. That I had never been born a fairy, but 
just a mortal boy ! 

Fairies {showing surprise). Oh, oh, how naughty ! How 
shocking ! 

Queen. Thistlekin, I will listen to you no longer. My 
royal patience is exhausted. Remember, you are a prisoner 
in this spot until to-morrow dawns, and if ever again you 
stray beyond the borders of the fairy wood, you shall be 
shut up in the hollow oak tree for one hundred years ! i^To 
fairies.') Come, fairies, let us go. 

{Music. Queen walks slotvly out, i.., followed by Mos^s- 
kin a?id fairies. Thistlekin throws himself on ground 
down c, and begi?is to cry. Slump crawls to him and 
rubs head against him.) 

Thistlekin. Go away, Slumpy, go away, I'm too mis- 
erable ! 

(^Exit Slump, i-) 

( Enter Trudie, r. She starts back at sight of Thistlekin . ) 

Trudie (speaking very softly). A fairy — oh, a fairy at 
last ! I ought to speak to him but I — oh, I'm afraid ! 
Here comes another ! {Enter Princess.) I'll hide behind 
this bush. (Hides.) 



THE FAIRIES CHILD II 

Princess. Thistlekiii ! (^She kneels down and puts arm 
about him.) Why, water is coming out of his eyes ! 1 sup- 
pose that's what mortals call crying. Thistlekui, dearThis- 
tlekin, I can't bear to see you so miserable. 1 don't care 
what the Queen does to me, I'm going to tell you 

1 HiSTLEKiN. Tell me what ? 

Princess. The truth. Thistlekin, you are not really a 
fairy at all ! You were born a mortal baby and the Wood- 
cutter's son, but you were so beautiful that the Fairy Queen 
was jealous of your mother and stole you away. Since then 
you have been called the fairies' child. Have you never 
wondered why your wings were so unlike ours? The Queen 
made a little magic pair for you, and all your fairy powers 
are contained in them. If you could get rid of your 
wings 

Thistlekin (jumping up and shaking himself excitedly). 
Jf 1 could only get rid of my wings I would be a mortal buy 
again ! 

Trudie (coming out from behind bush). Yes, and my 
brother ! 

Thistlekin. The Woodcutter's daughter ! My little 
sister 1 

(They hug each other.) 

Princess. It's no use. Only the Queen can free you 
from your wings, and she would never do it ! 
Trudie. I'll ask her; I'm not afraid ! 
Thistlekin. She's coming now ! (/Music.) 

(Enter Queen, Mosskin and fairies, l. Fairies stand 
back bowing in semicircle. Queen walks front.) 

Faifues (pointing at Trudie). A Mortal, oh, oh, a 
Mortal in the Fairies' Forest ! 

Queen (sternly). Child, how did you come here? 

Trudie {kneeling and stretching out arms). 1 want my 
brother ! Please give me back my brother, dear kind Fairy 
Queen ! 

Queen (angrily). Wretched child, I suppose I must 
grant your wish if'you persist in it, but this 1 promise you. 
If I let Thistlekin go, I will keep you here in his place, not 
as the fairies' child, but as their prisoner. 

Trudie. I will stay. 



12 THE fairies' CHILD 

Queen. Fairies, what pretty things shall we do to her ? 
MossKiN. Prick her with our sharpest thorns ! 
Ferncap. Loose the bees on her ! 
Buttercup. Change her into a toad or a slimy snake ! 
SiLVERLEAF. Tum her loose in the forest to be eaten by 
the bears ! 

{^Fairies crowd round Trudie as if to lead her away. 
'1'histlekin pushes them aside and puts his arm around 
her.^ 

Thistlekin. You shall not touch her ! You shan't hurt 
my litde sister! (To Trudie.) No, Trudie, keep your 
wish for yourself and you'll soon be safe at home. 

Trudie. I can't bear to leave you. 

Thistlekin. But you must — else what would Mother 
say ? She could not do without you. 

Trudie. But she wants you, too ! She cries for you. 

Thistlekin. Tell her I'll come to her. Tell her I'll be 
near her, even if she can never see me. Tell her to watch 
for me by night in the moonlight and in the wind, and by 
day in the little sunbeams that dance about the cottage 
door ! 

Queen (^^r^r^-'/V/o- Thistlekin (^ze'(^^/r^w Trudie). Stay 
with me, little Thistlekin, stay with me and be happy ! You 
shall have a silken suit all made of rose leaves, sewn with a 
spider's shining thread. You shall have a little silver 
trumpet and a pot of fairy gold 

Thistlekin. 1 only want my mother 

Queen. Foolish child, 1 am your mother ! I will dance 
all night with you on the dewy grass, 1 will fly with you in 
the moon's path higher than the tallest trees, 1 will feast with 
you on honey and on fairy bread 

Thistlekin. My mother would love me. 

Queen. I love you ! 

Thistlekin. Not enough. Not enough to let me go. 

Queen. I love you, little 1'histlekin, I love you — yes — 
even enough for that ! 

{She pushes liimfrom her.') 

Trudie. You'll let him come v/ith me? 
Thistlekin. Does your Majesty really mean 



Queen. Yes. See, I will take off his magic wings ! 



THE FAIRIES CHILD I3 

{Removes wings.) 

Thistlekin {ciaticing for joy). And now I am a boy ! 
Ho, ho, a boy at last ! Come, little Sister, let's go home. 

Queen. Fairies, wish them luck before they go ! 

Fairies {all taking hatuls and daiicing joimd children). 
Good luck, good luck to Thistlekin and Trudie. Good luck 
to Thistlekin, the Fairies' Child ! 



CURTAIN 



Unusually Good Entertainmeots 

Read One or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILIi SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a had without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. Price, 15 
cents. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. Price, 15 cents. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, wuth some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 
Price, 15 cents. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont, For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a. great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. Price, 15 cents. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. Price, 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Unusually Good Entertainments 

Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Wakd Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, M^hich surprises 
the sui-prisers. The entertainment is a sure success. Price, 15 cents^, 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumfokd. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual chai'acters and quick action. Nearly every 
cliaracter has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. Price, 15 cents. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. Price, 15 cents. 

THE CASE or SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any mnnber of good parts. Price, 15 cents. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- . 
tainment in One Act, by Louise Latham WiLson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. Price, 25 cents. 

BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 

Entertainment in One Act, by Edv/ard Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. Price, 15 cents. 

THE PENN PUBUSHING COMPANY 

PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J, H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is com.ing to vaccinate all the pvipils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. Price, 15 cents. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization. Price, 15 cents. 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Saxford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. Price, 15 
cents. 

HOW A WOMAN KEEPS A SECRET. A Comedy 

in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's vmcle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in , a few minutes to another 
friend and so the secret travels. Price, 15 cents. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. Price 15 cents. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



I IBRARY OF CONGRESS 

015 940 354 3 • 

The Power of Expression 

Expression and efficiency go hand in hand. 

The power of clear and forceful expression brings confi- 
dence and poise at all times— in private gatherings, in public 
discussion, in society, in business. 

It is an invaluable asset to any man or woman. It can often 
be turned into money, but it is always a real joy. 

In learning to express thought, we learn to command 
thought itself, and thought is power. You can have this 
power if you will. 

Whoever has the power of clear expression is always sure 
of himself. 

The power of expression leads to: 

The ability to think "on your feet" 
Successful public speaking 
Effective recitals 
The mastery over other minds 
Social prominence 
Business success 
Efficiency in any undertaking 
Are these things worth while? 

They are all successfully taught at The National School of 
Elocution and Oratory, which during many years has de- 
veloped this power in hundreds of men and women. 
A catalogue giving full information as to how any of these 
accomplishments may be attained will be sent free on request. 

THE NATIONAL SCHOOL OF 
ELOCUTION AND ORATORY 

Parkway Building Philadelphia 



